Development of a Deadpool film starring Reynolds began in February 2004, before he went on to play the character in X-Men Origins: Wolverine in 2009. Reese and Wernick were hired for a spinoff in 2010. They worked with Reynolds to adapt the character more faithfully (including his fourth wall breaking) after the portrayal in Wolverine was criticized for not doing so. Miller was hired in 2011 marking his directorial debut. An enthusiastic response to leaked test footage he created with Reynolds led to a green-light from Fox in 2014. Additional casting began in early 2015, and filming took place in Vancouver, Canada, from March to May of that year. Several vendors provided visual effects for the film, ranging from the addition of blood and gore to the creation of the CG character Colossus.

Wade Wilson is a dishonorably discharged special forces operative working as a mercenary when he meets Vanessa, a prostitute. They become romantically involved, and a year later she accepts his marriage proposal. Wilson is diagnosed with terminal cancer, and leaves Vanessa without warning so she will not have to watch him die.

A mysterious recruiter approaches Wilson, offering an experimental cure for his cancer. He is taken to Ajax and Angel Dust, who inject him with a serum designed to awaken latent mutant genes. They subject Wilson to days of torture to induce stress and trigger any mutation he may have, without success. When Wilson discovers Ajax's real name is Francis and mocks him for it, Ajax leaves Wilson in a hyperbaric chamber that periodically takes him to the verge of asphyxiation over a weekend. This finally activates a superhuman healing ability that cures the cancer but leaves Wilson severely disfigured with burn-like scars over his entire body. He escapes from the chamber and attacks Ajax but relents when told that his disfigurement can be cured. Ajax subdues Wilson and leaves him for dead in the now-burning laboratory.

Wilson survives and seeks out Vanessa. He does not reveal to her he is alive fearing her reaction to his new appearance. After consulting with his best friend Weasel, Wilson decides to hunt down Ajax for the cure. He becomes a masked vigilante, adopting the name "Deadpool" (from Weasel picking him in a dead pool), and moves into the home of an elderly blind woman named Al. He questions and murders many of Ajax's men until one, the recruiter, reveals his whereabouts. Deadpool intercepts Ajax and a convoy of armed men on an expressway. He kills everyone but Ajax, and demands the cure from him but the X-Man Colossus and his trainee Negasonic Teenage Warhead interrupt him. Colossus wants Deadpool to mend his ways and join the X-Men. Taking advantage of this distraction, Ajax escapes. He goes to Weasel's bar where he learns of Vanessa.

Ajax kidnaps Vanessa and takes her to a decommissioned helicarrier in a scrapyard. Deadpool convinces Colossus and Negasonic to help him. They battle Angel Dust and several soldiers while Deadpool fights his way to Ajax. During the battle, Negasonic accidentally destroys the equipment stabilizing the helicarrier. Deadpool protects Vanessa from the collapsing ship, while Colossus carries Negasonic and Angel Dust to safety. Ajax attacks Deadpool again but is overpowered. He reveals there is no cure after all and, despite Colossus's pleading, Deadpool kills him. He promises to try to be more heroic moving forward. Though Vanessa is angry with Wilson for leaving her, she reconciles with him.

Ryan Reynolds as Wade Wilson / Deadpool: A wisecracking mercenary with accelerated healing but severe scarring over his body after undergoing an experimental mutation.[3][4] The writers described Deadpool as "fun to hang out with ... in short doses".[5] Reynolds promised a more "authentic" and comic-faithful version of the character than the one he portrayed in X-Men Origins: Wolverine (2009).[6] The character becomes aware he is in a film after becoming Deadpool, though before this Wilson does make a joke about Reynolds's role in Green Lantern (2011).[7]

Morena Baccarin as Vanessa: An escort and Wilson's fiancée.[8][4] Baccarin described Vanessa as "scrappy" and not a damsel in distress. The character was initially designed as a "typical prostitute", but Baccarin worked with the costume and makeup teams to make her appearance more layered.[9] The film does not explore the character's comic alter-ego "Copycat", as the writers wanted to focus on Deadpool.[10] Makeup designer Bill Corso, however, included some references to Copycat's blue appearance in the comics.[11]

T. J. Miller as Weasel: Wilson's best friend.[14][15] Miller felt he was cast as the character because he "looks like his superhero power is spilling mustard on his shirt". Producer Simon Kinberg added that an actor was needed "who could keep up with" Reynolds comedically. Miller attempted to give the character a facial tic, but director Tim Miller rejected the idea.[16]

Gina Carano as Angel Dust: An artificially-mutated member of the program that creates Deadpool.[17] She has superhuman strength and speed.[4] Director Miller personally called Carano and asked her to take the part. Carano felt the character's rage and "extreme adrenaline issues" made comparisons to the drug "angel dust" fitting.[17] She had wanted to wear yellow contact lenses to match the character's look in the comics, but Corso turned the idea down, comparing it to something from the Twilight films.[11]

Stefan Kapičić provides the voice of Colossus, an X-Man with the mutant ability to transform his entire body into organic steel.[21][4] Writer Rhett Reese called him "a great foil to Deadpool because he's very self-serious and goody-two-shoes".[10] Director Miller changed the character drastically from his previous film appearances, where he was portrayed by Daniel Cudmore. Miller felt the Cudmore version, which he described as "[t]hat dude with the shiny skin", was "not fucking Colossus." He wanted the character to be seven-and-a-half feet tall.[7]Andre Tricoteux stood in for a CG version of Colossus on set,[22] and Kapičić was cast to give the character an "authentic Russian accent" like he has in the comics.[21]

Leslie Uggams portrays Blind Al, an elderly blind woman and Deadpool's roommate.[23][24] Uggams said that Al has "been through British Intelligence, she's done all kinds of wild and crazy things ... she's old, but she's feisty." Uggams added that Al has a "love/hate" relationship with Deadpool.[24]Karan Soni appears as Dopinder, a taxi driver who befriends Deadpool,[25] and Jed Rees portrays a recruiter for Ajax.[7] X-Men co-creator Stan Lee and Deadpool co-creator Rob Liefeld make cameo appearances as a strip club emcee and a patron of Weasel's bar, respectively.[26][27] Rob Hayter makes a cameo appearance as Bob, Agent of Hydra, a recurring character in the comics alongside Deadpool.[27] The rights for Bob are owned by Marvel Studios. They did not give permission for him to be used in the film, so his comic history and connections to the Hydra organization are not referenced in the film. He is explained instead as a former special forces operative like Wilson.[28]Hugh Jackman, who portrayed Wolverine in the X-Men film series, was very supportive of Deadpool and it making fun of himself and his character. He is seen in the film on a People magazineSexiest Man Alive cover.[10]

By March 2005, Reynolds learned that Fox had expressed interest in a film featuring Deadpool.[33] The character was set to make a cameo appearance in the 2009 film X-Men Origins: Wolverine, with Reynolds cast in the part. His role was expanded during the film's production.[34] Katz was an executive at Fox at that point, and said that Deadpool was "nicely set up to be explored in his own way" in a future film.[32] The film's portrayal deviates from the original comic character, "imbuing him with several superpowers and sewing his mouth shut". Deadpool apparently dies in the film, though a post-credits scene showing him still alive was added to the film shortly before its release. After the successful opening weekend of Wolverine, Fox officially began development on Deadpool, with Reynolds attached to star and X-Men producer Lauren Shuler Donner involved. The spinoff was set to ignore the Wolverine version of Deadpool and return to the character's roots with a slapstick tone and a "propensity to break the fourth wall".[35]

Rhett Reese and Paul Wernick were hired to write the script in January 2010.[36] Reynolds, who worked closely with them, said they were chosen because, "Tonally, they got it. They just [understood Deadpool] right off the bat."[37] By that June, Robert Rodriguez had been asked to direct the film.[38] He confirmed this a month later, saying he had been sent a "really good" script and was considering taking on the project.[39] By October he was no longer interested in it, and Adam Berg was being looked at to direct the film.[40] In April 2011, Tim Miller was hired after working on the visual effects for some of the X-Men films,[41] in part because of his work creating animated short films. These included the Academy Award-winningGopher Broke and a DC Universe Online trailer which was "epic and cinematic, everything [Fox wanted] their comic book movies to be".[42][43] Miller would make his directorial debut with the film, while Reynolds closed a deal with Fox to produce the film.[41]

Reynolds's Green Lantern superhero film was released later in 2011 and was "a disaster". This tainted the Deadpool project. Fox executives were already concerned about its R-rated content. After several meetings the studio agreed the film could not be reconfigured for a more traditional PG-13 rating, and gave Miller "a low-six-figure budget" to produce some test footage.[42] He created the footage using CGI at his animation company Blur Studio in 2012, with Reynolds voicing Deadpool.[44] The footage did not convince Fox to green-light the film.[42] After the successful May release of Marvel's The Avengers, Reese and Wernick thought Deadpool might be approved as an already developed superhero film. Fox was actually even more doubtful about the script, however, and began exploring ways to include Deadpool in an Avengers-esque team-up film.[45] At different times during development, James Cameron and David Fincher, both friends of Miller, read the film's script and championed the project to Fox executives.[46]

"I would have [leaked the test footage], if I had known it would have caused that! ... Now, we get to make the movie. We don't get to make it with the budget of most superhero movies, but we get to make it the way we want to make it."

—Star and producer Ryan Reynolds on Deadpool finally getting the green-light after the test footage leak.[47]

The test footage was leaked online in July 2014,[48] and was met with an overwhelmingly enthusiastic response.[42] That September, Fox gave Deadpool a release date of February 12, 2016.[49] Production was set to begin in March 2015, with Simon Kinberg joining as producer.[3] Reynolds attributed Fox's green-lighting of the film entirely to the leak. He, Miller and the writers had previously discussed leaking the footage themselves, and Reynolds initially thought that Miller had done so. He later believed the leak came from someone at Fox. In exchange for being able to make the film the way they wanted, Fox gave the crew a much smaller budget than is typical for superhero films.[47]

Reese and Wernick wrote a draft of the script each year before completing the film,[10] with around 70 percent of the first draft ending up in the final film.[5] Reese described Reynolds as "the keeper of the Deadpool flame for many years ... if we ever do something that is off the Deadpool path, or if it doesn't feel like Deadpool, he catches it."[50] The writers did not want the film to be an origin story, but Reynolds disagreed. They settled on a "modern" Deadpool story as well as the origin story connected by Deadpool's narration and fourth wall breaking. This helped to balance the darker origin story with the cartoon-like Deadpool scenes. It also allowed the opening fight sequence to be extended through the first half of the film (with the origin story told throughout), saving money on additional fight scenes.[10] This fight sequence labeled the "Twelve Bullets Fight" reimagines the original test footage.[7] Once the origin story is told, Deadpool uses a "fast-forward button" to return the audience to the present day.[10]

In October 2014, Kinberg confirmed that Deadpool would be set in the same shared universe as the X-Men films, but would "stand independently".[51] The writers wanted a traditional X-Man in the film as a foil to Deadpool and felt Colossus was a character who had not been explored much in previous films.[10] Miller wanted "more superhero stuff", instead of "just Deadpool and a lot of guns". The character Negasonic Teenage Warhead was added as a trainee X-Man mentored by Colossus.[10][7] She was chosen for her name from the list of comic characters available for use by Fox.[7] The characters Garrison Kane, Wyre, and Sluggo were included in the script at one point, but ultimately removed for budgetary reasons.[7][46]Cannonball and Tar Baby were also considered.[7][13] These villains were replaced by a single character, Angel Dust.[52] The Cable character was also set to appear, but was eventually pushed to a potential sequel so this film could "get Deadpool on his feet" first.[46]

The writers worked to keep the script's pop-culture references up-to-date throughout its development.[13] Kinberg confirmed the film would make fun of Deadpool's portrayal in X-Men Origins: Wolverine.[51] It also includes jokes at the expense of Green Lantern.[7] While Miller felt it was okay for audience members not to understand all of the film's jokes, he wanted to avoid anything targeted specifically at comic fans. He was not in favor of any joke the audience "needs to look up on the internet" after the movie ends.[7] The film's post-credits scene is a parody of the equivalent scene from Ferris Bueller's Day Off (1986), where the title character of that film breaks the fourth wall like Deadpool. In the parody scene, Deadpool wears a bath robe and tells the audience to go home.[53] He also confirms that Cable will appear in the sequel.[54] After reading the scene, a Fox executive described the film as combination of Ferris Bueller's Day Off and Natural Born Killers (1994), a description the writers felt was accurate.[53]

Co-writer Rhett Reese said the studio's cuts to the film's budget made the script more efficient[52]

48 hours before the film received the official green-light from Fox, the studio cut its budget by $7–$8 million,[52] down to $58 million.[2] This forced a last minute re-write that saw about nine pages cut from the 110-page script. Changes included the removal of a motorcycle chase at the end of the Twelve Bullets Fight and having Deadpool forget his bag of guns before the final battle sequence to avoid having to shoot a costly gun fight in the third act. Reese said, "It was that last, lean and mean chop that got us to a place where Fox was willing to make it. The script was very efficient and not too long. That was a function of budget more than anything, but I think it really made the movie pace nicely."[52]

An immediate focus during pre-production was Deadpool's suit.[59] Russ Shinkle and Film Illusions were hired to create the costume. Shinkle noted that "comic book art is fairly over the top in terms of physique", and he tried to balance that with reality.[60] Reynolds did not wear a muscle suit under the costume, which Tim Miller felt gave it a slimmer, "quintessential Deadpool" look.[61] Miller and Reynolds wept when they saw the completed costume.[61][62] Reynolds explained, "we fought like hell ... to make this the most faithful comic book to movie adaptation fans have ever seen. That's hard to accomplish and a feat, but we're just so happy with how this came out."[62] The costume was designed with the film's stunts in mind. The mask's eye areas were removable so versions of the eyes better suited for the stunts could be used without having to change the whole mask.[60] The suit was difficult for the visual effects team to replicate with CGI. Visual effects supervisor Jonathan Rothbart blamed this on the suit's fabric. He described it as mesh that allowed dirt to "get into the gutters and the cracks ... [so when] the light hits it, it still takes that orangey hue but as soon as it goes in the shadow it dropped to this more blueish of the dirt."[22] Film Illusions made six hero versions of the costume and twelve stunt-specific versions, along with three hero versions of Negasonic Teenage Warhead's costume.[63]

Miller wanted Deadpool's scarred appearance to make him appear "fucking horrible" to justify his anger.[7] Makeup designer Bill Corso had some leeway because in the comics "he's everything from a rotten corpse to a guy with a couple of lines on his face". Corso acknowledged the script's description of the character as "disfigured" but also wanted him to be "kind of charming and iconic". He wanted to avoid comparisons with Freddy Krueger and looked to Sin City (2005) for inspiration.[11] The final makeup required nine silicone prosthetics to cover Reynolds's head, which took several hours to apply.[64] For the scene where the character is naked, it took six hours to apply Reynold's full-body makeup.[7] Corso described the makeup for the rest of the film's characters as "pretty simple. Tim wanted to keep it really grounded."[11]

Tim Miller and cinematographer Ken Seng wanted the film to look "grittier and less clean and glossy" than other superhero films. They decided to shoot with digital cameras but add film grain in post-production to give the images texture. Seng used Super Baltar lenses and Cooke zooms for the origin story timeline, and Panavision primo lenses for the Deadpool scenes which gave them more clarity. The film's exterior scenes have a consistent overcast look, but location shooting came with "unpredictable" weather.[69] For instance, the production had use of the Georgia Viaduct for two weeks and shot rain or shine before their permit expired. Seng used more lighting on cloudy days and less on sunny days to keep a consistent look.[69][65] Production designer Sean Haworth, who had specific ideas for the sets, also worked closely with Miller. The production had to be very specific about which elements of each set were constructed to conserve the budget for visual effects. For the final scrapyard scene, garbage was built to a certain height to be extended with CGI. A gimbal was used for a tilting section of the yard that had to interact with many digital elements.[70][71] The final sequence was filmed in a naval yard dressed with scrap metal. Rubber casts of the metal were made for stunts.[72]

Stunt coordinator Philip J. Silvera in costume as Deadpool on set in Vancouver[73]

When Fox was unwilling to pay Reese and Wernick to be on set every day,[5] Reynolds paid their salaries.[74] The writers had scripted the action very specifically, "every kill and almost down to every punch, kick, or shot", but Tim Miller and the stunt coordinators were free to change this.[5] Robert Alonzo and Philip J. Silvera were the film's stunt coordinators;[22] Silvera had provided motion capture reference for the test footage.[75] The stunt team had a month before filming began to prepare the actors. Skrein worked "nonstop" to prepare. Silvera said Reynolds "has a photographic memory; he'd do something three or four times and remember it very well."[76] A lot of the film's jokes were improvised on set, particularly by Reynolds.[10] He said the actors often came up with around 15 alternate jokes for each one in the script, and were generally only limited to those because of time constraints.[77] For example, Reese said Wernick had written some jokes for the scene where Deadpool visits Colossus and Negasonic. Instead Reynolds improvised the line on set, "You know it's funny how I only see the two of you here. It's like the studio couldn't afford any more X-Men." This was based in truth and became then Fox chairman Jim Gianopulos' favorite line.[10] Filming ended on May 29.[78]

Leslie Uggams said that she was in the film in July 2015, portraying Blind Al.[23] Tim Miller stated that Jed Rees portrays "The Recruiter", and "did a good job of being creepy and syrupy sweet". Miller explained that Colossus would be a solely CGI creation in the film,[7] with Andre Tricoteux cast to provide motion reference on set for the role along with the voice.[22][21] In December, the voice of Colossus was recast, with Stefan Kapičić taking over the role. He completed his work eight weeks before the film was scheduled for release.[21]

As soon as editor Julian Clarke began selecting shots for the film, they were color graded by EFILM's Tim Stipan to ensure they all matched.[69][79] Stipan colored the characters slightly differently. He gave Deadpool a "dark, modern touch" and Colossus a "particular vibrancy and substance".[80] Clarke edited each scene focusing on humor, choosing between alternate takes of jokes. He removed jokes made after Vanessa is kidnapped because they felt inappropriately timed. He cut down other scenes with fewer jokes, such as Wilson being tortured, as they were "too much". It would take the audience "too long to recover [and] get back in the irreverent spirit of the movie." During editing, a linear version of the film was produced. Clarke decided to go with interweaving the timelines to balance the different serious and silly tones.[79]

One sequence removed from the film saw Wilson and Vanessa travel to Mexico looking for a cure after he turned down the recruiter. It was removed for pacing reasons and replaced with a short scene of Wilson sitting beside his window that was originally filmed to show him thinking about his diagnosis. In its new context the scene implies him re-thinking the recruiter's offer.[81]

Because of the animation required for Deadpool's mask and Colossus, Reese and Wernick had more freedom than usual to keep adjusting the script during post-production. Reynolds recorded new dialogue using his iPhone, and then re-recorded the lines in an additional dialogue recording session once the film was finalized. Lines added after filming included Reynolds doing an impression of Wolverine star Hugh Jackman's natural Australian accent, and another where Deadpool asks whether the character Professor X is being portrayed by James McAvoy or Patrick Stewart at that point in the X-Men timeline. This became a favorite line in the film for many audience members.[82]

Digital Domain (DD), Atomic Fiction, Blur Studio, Weta Digital, Rodeo FX and Luma Pictures produced Deadpool's visual effects.[22] Reynolds credited Miller and his visual effects experience with producing a film that looked like others made with bigger budgets.[77] Motion capture supervisor Greg LaSalle agreed, noting that Miller held off working on the CGI for Colossus until after the film was edited to avoid spending money on shots that would not be used.[83] Miller worked with visual effects supervisor Jonathan Rothbart to design and complete the film's 1500 effects shots—700 more than originally planned. 800 of them were completed in the last four weeks of production.[84]

Colossus's movements were re-recorded with performer T.J. Storm, as Tricoteux had been unable to move athletically because of the platform shoes he wore on set to replicate the character's height. LaSalle was used for his facial performance. DD then mapped these performances onto a digital model that was designed to be comic-accurate. The team sought specific reference for Colossus's metallic finish to avoid looking "chromey", visiting a metal company to look at samples. They settled on cold rolled steel, with the darker hot rolled steel used for his hair. The model also includes ridges which could be moved separately to keep them perfectly straight as in the comic books.[22] DD also created the model of Deadpool was used by all the FX vendors. His mask was animated around the eyes to be expressive as in the comics. This helped balance out the "chinwag" coming through the bottom of the mask as Reynolds's acted. Fully Replacing Deadpool's head was going to be too costly, so Weta Digital warped each shot based on facial references from Reynolds and adjusted the lighting to reflect the changes instead. This was called an "ingenious 2D-ish solution".[22]

Atomic Fiction created a freeway environment for the Twelve Bullets Fight, with a backdrop based on Detroit, Chicago, and Vancouver. They also created the vehicles used in the sequence.[22] These assets were used by Blur for the opening titles, which move through a frozen moment where Deadpool is fighting thugs inside a crashing car. The amusing titles include "Directed by an overpaid tool" and "Produced by asshats".[22] Reynolds, Miller, and the writers came up with their own credits hoping to set the tone for the film.[10]

Luma contributed the film's blood and gore using practical footage as well as digital effects for more complex scenes. When Deadpool cuts off his own hand, DD did not want to be "outdone" by Luma and had "buckets of blood pouring out". Luma created the regrowing hand, inspired by the hand of a fetus.[22] When Deadpool breaks both his hands, DD went through 20 or 30 different versions of what broken fingers could look like.[66] For Deadpool's initial scarring from the warehouse fire, Rodeo FX referenced rotting fruit and maggot-eaten meat. The company added a CG penis to Reynolds in this sequence, which visual effects supervisor Wayne Brinton said, "you don't even notice [but] when it wasn't there it looked really weird". Rodeo also augmented the practical fire in the scene.[22]

The vendors all collaborated for the final battle sequence, which takes place in the wreckage of a helicarrier. Luma created the climactic fight between Deadpool and Ajax; DD created most of the Colossus effects until he is damaged when Blur Studio took over; DD created the effects for Negasonic Teenage Warhead's abilities as well as expanding the helicarrier's deck; Rodeo contributed matte paintings for the background; and Weta provided the facial animation for Deadpool.[22][85] Negasonic's abilities were the only "supernatural effect-sy thing" in the film, and were based on fuel-air explosives and solar flares to try ground them in reality.[84] Setting the final sequence on the wrecked helicarrier was Miller's idea. This helped to expand the scope of the third act and include more connections to the comics and the wider Marvel Universe.[86] To avoid rights issues with Marvel Studios, the helicarrier for Deadpool was designed to be "as different as possible from the one in The Avengers".[85] Additionally, a French animation artist with a "unique style" created 2D cartoon characters that dance around Deadpool after he is stabbed in the head during the fight.[22]

Tom Holkenborg announced in October 2015 that he would compose the score for Deadpool.[87] Noting that Deadpool only makes pre-1990 musical references,[88] Holkenborg decided to use sounds from the 1980s in the movie's main theme, such as those of an Oberheim and a Synclavier .[89][90] Several songs were written in to Reese and Wernick's script to be used in the film. Some of these ultimately did not work as intended. For example, the sex montage with Wilson and Vanessa was to play out to Frank Sinatra's version of "It Was a Very Good Year" in the script, but this was changed to Neil Sedaka's "Calendar Girl" during editing.[81] A soundtrack album featuring Holkenborg's score and the songs heard in the film was released digitally on February 12, 2016, and physically on March 4 through Milan Records.[91]

The marketing budget for Deadpool was limited so Reynolds worked closely with Fox's domestic marketing chief Marc Weinstock to use the Internet to their advantage and come up with cheaper, "Deadpool-based" ways to market the film.[92][93] This included unique trailers,[94][95] unconventional billboards,[96][97] promotional tie-ins with Super Bowl L and Viacom[98][99] and an extensive social media presence.[96] Reynolds kept one of the Deadpool costumes for himself, and appeared in it throughout the marketing campaign.[59] Visual effects vendor Image Engine animated Deadpool's mask for these appearances, using a process similar to that used by Weta Digital for the film.[22] Emma Grey Ellis at Wired.com described the campaign as "crazy and unrelenting" with Deadpool waging "a relentless marketing siege of every platform you would think of—and some you didn’t."[96] Bobby Anhalt at Screen Rant called it possibly "the best film marketing campaign in the history of cinema".[97]HostGator's Jeremy Jensen attributed the campaign's success to Reynolds, and to Fox for embracing the film's R rating.[100]

Deadpool's world premiere was held at the Grand Rex in Paris on February 8, 2016,[101] before its initial theatrical release in Hong Kong the next day. This was followed by releases in 49 other markets over the next few days, including the United States on February 12.[49][102] The movie was released in several formats, including IMAX, DLP, premium large formats, and D-Box.[81]

Kinberg explained that unlike the previous X-Men films, Deadpool is "a hard R. It's graphic. Nothing is taboo. You either commit to a truly outrageous boundary-pushing kind of movie or you don't."[103] China forbid the film's release because of this. Though R-rated American films are often "cleaned-up" for release there, it was decided that doing so was impossible without affecting the plot.[104] It was not released in Uzbekistan after theater owners in the country decided against showing the film because of its age restriction and how it violated the country's societal norms.[105]Deadpool received seven "general cuts" to obtain approval for release in India.[106] Despite being blocked in China during this initial release, Deadpool eventually premiered in the country during the 2018 Beijing International Film Festival, which ran over a week from April 15–22. The original version of the film played at the festival without any edits being made specifically for Chinese censors.[107][108]

Deadpool was released for digital download on April 26, 2016, moved up from the physical home media release, which came on May 10. The latter release, for Blu-ray and DVD, included behind-the-scenes featurettes, deleted scenes, a blooper reel, and two audio commentaries: one by Tim Miller and Deadpool co-creator Rob Liefeld, and another by Reynolds, Reese, and Wernick.[109] On November 7, Fox re-released the film and its special features on Blu-ray for the holiday season, as Deadpool's Holiday Blu-ray package.[110] The film was re-released again in April 2018 in a Deadpool Two Year Anniversary Edition Blu-ray package, with collectible covers as well as "stickers, car decals, temporary tattoos and a set of paper dolls". A 4K UHD Steelbook version was also released exclusively through Best Buy featuring original artwork.[111]

Deadpool grossed $363.1 million in the United States and Canada and $420 million in other countries for a worldwide total of $783.1 million, against a budget of $58 million.[2] It broke numerous records with its opening weekend gross across the world, and went on to become the highest-grossing R-rated film and the highest-grossing X-Men film,[112][113] as well as the ninth-highest-grossing film of 2016.[114]Deadline Hollywood calculated the net profit of the film to be $322 million, when factoring together all expenses and revenues for the film, making it the second-most profitable release of 2016. When discussing potential reasons for the film's surprise success, the site highlighted its marketing campaign.[115]

At the end of January 2016, the film was projected to earn $55–60 million over its opening weekend in the United States and Canada.[116] Fox's rivals projected the film to earn closer to $80 million. It ultimately opened at No. 1, making $132.4 million for the weekend, and $152.2 million over the long Presidents' Day weekend. Trying to explain this surprise, Fox's domestic distribution chief Chris Aronson said "it's hard to comp and predict. You're doing something that's never been done. It's like you throw the rulebook out the window." The weekend included $12.7 million from Thursday preview showings on February 11, $47.5 million on its opening day, $42.5 million on February 13, and $42.6 million on February 14, as well as $19.8 million on February 15 to end the long weekend. These were all day-of-the-week records for R-rated films and days in February for Thursday through Monday. $16.8 million of this came from IMAX screens, a record opening weekend for R-rated films and February releases in that format.[117]Deadpool earned an additional $55 million in its second weekend. This kept it at No. 1, and made it the fastest R-rated film to cross $200 million, doing so in nine days.[118][119] It became the highest-grossing X-Men film and R-rated comic book superhero film the next day.[120] It remained in the No. 1 position for its third week,[121] but fell behind Zootopia and London Has Fallen the following week.[122]Deadpool's domestic run ended on June 17, after 126 days, with $363.1 million.[123][2] This was shortly after it became the highest-grossing R-rated film worldwide.[112] The film's U.S. audience, across its whole run, was 59% Caucasian, 21% Hispanic, 12% African-American, and 8% Asian. It was also 62% male, and had an average age of 35.[124]

The film was released in 80 markets around the world, many of them in its first week. This included the United Kingdom, France, and Australia on its first day, February 9, where it was the No. 1 film and broke several records. The film also opened well in Asian countries, notably Taiwan—where Reynolds had traveled for promotion and made the "central hub" of South East Asia for the film—and Hong Kong, where the film had the biggest Chinese New Year single day ever.[125] It went on to gross $132.2 million for its international opening weekend, which included $9 million from IMAX showings breaking opening weekend records for February releases and R-rated films in that format in several markets. It was the No. 1 film in all markets where it was released over the weekend, except Poland and Malaysia where it was No. 2 behind local films Planet Single and The Mermaid, respectively.[126] The film broke the record for biggest opening weekend in Russia and Thailand, and set records for biggest R-rated film and February opening weekends in several other markets.[127] It remained No. 1 for the international box office in its second weekend, making an additional $84.7 million from 77 markets. The film made No. 1 debuts in 17 new countries, including Korea, Spain, and Italy, and maintained its No. 1 position in countries like the UK, Germany, and Brazil. Its South East Asia performance was compared favorably to bigger superhero films like Guardians of the Galaxy and Captain America: The Winter Soldier (both 2014).[128]Deadpool was No. 1 for a third consecutive weekend,[129] before falling to No. 3 behind Ip Man 3 and Zootopia in its fourth.[130]Deadpool opened in its final market, Japan, in June, and was the No. 1 film there, with a $6.5 million opening weekend.[131]

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 84% based on 317 reviews, with an average rating of 7/10. The site's critical consensus reads, "Fast, funny, and gleefully profane, the fourth-wall-busting Deadpool subverts superhero film formula with wildly entertaining—and decidedly non-family-friendly—results."[132] On Metacritic, the film has a weighted average score of 65 out of 100, based on 49 critics, indicating "generally favorable reviews".[133] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. PostTrak reported an average positive score of 97%, with 45% of filmgoers saying the film exceeded their expectations.[117]

Michael O'Sullivan of The Washington Post scored Deadpool three-and-a-half out of four, calling it a "voraciously self-aware comedy" and the first R-rated Marvel film "with real teeth". He praised the film's attitude and tone, Reynolds for making Deadpool a likeable character and the film's action scenes.[134]TheWrap's Alonso Duralde said Deadpool "shouldn't work, but it absolutely does", feeling that it successfully balanced comedy with superhero action, and that the chemistry between Reynolds and Baccarin gave enough weight to the plot to support the tone and violence.[135] Calvin Wilson at the St. Louis Post-Dispatch also gave the film three-and-a-half out of four, saying it was "smart, sexy, and outrageous", but that it would not work without Reynolds.[136]The Guardian's Peter Bradshaw gave the film four out of five calling it "neurotic and needy—and very entertaining", comparing it to Kick-Ass (2010) and Kill Bill (2003). He did feel the film's villains were underused.[137] Writing for Uproxx, Drew McWeeny described it as "the world's most violent and vulgar Bugs Bunny cartoon", and praised the film's unconventional plot structure, its personal stakes, the difference in tone and storytelling from other superhero films, and the cast.[138]Variety's Justin Chang said the film is "terribly arch and juvenile [but] also startlingly effective", praising Reynolds's performance (and the film's willingness to hide his looks under prosthetics), the script, and director Miller for staying "out of the way of his script and his star".[139] Todd McCarthy at The Hollywood Reporter felt the film took a while to get going, "but once it does, Deadpool drops trou to reveal itself as a really raunchy, very dirty and pretty funny goof on the entire superhero ethos".[140]

Rolling Stone's Peter Travers said the film "goes on too long and repetition dulls its initial cleverness", but the "junky feel is part of its charm". He praised the cast, particularly Reynolds as well as Tim Miller's action sequences.[141] At The Boston Globe, Tom Russo gave the film three stars. He criticized the "featherweight" plot, but said that there is enough humor to support it, and that Reynolds was "born to play" Deadpool.[142] Chris Nashawaty graded the film a 'B' for Entertainment Weekly, saying it "doesn't have the most adrenalized action sequences or the deepest origin story" but makes up for that with R-rated fun. Nashawaty felt Reynolds was the perfect star for the film and is "a blast of laughing gas in a genre that tends to take itself way too seriously".[143] Tasha Robinson at The Verge felt there was too much juvenile humor. She noted the film was did not make homophobic, racist, or sexist jokes, and that its overall tone remained joyous despite the material.[144] David Edelstein of Vulture said the film's jokes save it from a lack of subtext and strong villains and noted the "gratifyingly twisty" structure.[145] Manohla Dargis at The New York Times was not impressed with the listing of the film's genre cliches in the opening credits before they were used. She highlighted the "human" elements in the film and the moments where Reynolds and Tim Miller did "more than hit the same bombastic notes over and over again".[146]IndieWire's Kate Erbland gave the film a 'B-', praising its style, and Reynolds's Deadpool for breaking the superhero mold, but criticizing the overall film for following genre conventions and focusing on "numbing" violence and un-original swearing and nudity.[147]

Writing for the Los Angeles Times, Kenneth Turan said that Deadpool "gets off to a fun start" but the character "eventually wears out his welcome". He noted that though the film has a complicated narrative, it is masking a conventional Marvel origin story. Turan did highlight the film's romantic element and Baccarin's performance.[148] Jonathon Pile of Empire gave the film three out of five, saying the number of jokes "will soon numb you to their impact" He called the film a fun alternative to other superhero films.[149] Robbie Collin at The Daily Telegraph also gave the film three out of five, saying it is not "the future of superhero movies" calling it "an enjoyably obnoxious detour". He felt some of the film's jokes about superhero cliches were out of date by the time the film was released.[150]The San Francisco Chronicle's Mick LaSalle did not appreciate the humor, fourth wall breaking, or violence. He concluded the film is "bad, borderline garbage, but disturbing, too, in that it's just the kind of fake-clever awfulness that might be cinema's future".[151]

After being nominated for awards such as the Golden Globes, Critics' Choice, and Writers Guild of America, Deadpool was considered a serious contender by commentators for several Academy Awards, despite its content and tone.[166] This included potential nominations for Best Adapted Screenplay and Best Makeup and Hairstyling, and after its Producers Guild of America nomination, Best Picture.[167][168] When the film did not receive any Academy Award nominations, it was widely considered to have been "snubbed".[169] Analyzing potential reasons for this, Screen Rant's Alex Leadbeater said that while the film "earned a solid thumbs up from most", it was generally not praised by top critics for offering any "depth or related subversion of its genre". He also noted an apparent bias that Academy voters' have against superhero films; the lack of a targeted campaign for the awards by Fox, who did not seem to be expecting any of the film's previous awards either; and the number of other films in contention, as "2016 was, all in all, a pretty good year for movies".[170] A variant cover for Marvel Comics' X-Men Gold #1, with art by Ron Lim and released in April 2017, references Deadpool's Oscar snub.[171]

Before Deadpool's success, R-rated, comic-based films considered successful were 300 (2006) and Watchmen (2009), which earned about half the opening weekend gross of successful PG-13 superhero films. Kick-Ass, a film tonally similar to Deadpool, made even less with a $19.8 million opening. Many reasons were given why Deadpool went on to be more successful than these, including the popularity of the Marvel brand and Reynolds's performance.[117] Tom Huddleston, Jr. wrote for Fortune that Deadpool was proof to Hollywood that R-rated films can be as successful as PG-13 films, "particularly when fans see the rating itself as validation that the film is true to its source material".[172]

A Hollywood executive, not involved with the film, felt it succeeded because it "has a self-deprecating tone that's riotous. It's never been done before. It's poking fun at Marvel. That label takes itself so seriously; can you imagine them making fun of themselves in a movie?" James Gunn, director of Marvel's Guardians of the Galaxy, rejected this saying Deadpool was a success because "it's original, it's damn good ... and it wasn't afraid to take risks". Gunn hoped studios would learn "the right lesson" from the film and not just try to make more films like Deadpool.[173] After Fox's Logan (2017) also became a success, Forbes' Paul Tassi reiterated Gunn's sentiments, saying the rating was "appropriate given the 'adult' nature of these two heroes", but "too much stock is being put into unrestrained violence rather than people examining what actually makes these movies work".[174] Graeme McMillan of The Hollywood Reporter concurred, adding, "Why not take the freedom that comes from that rating and try to re-approach the mainstream genre with that attitude?"[175]

In March 2017, a Warner Bros. executive said that an R-rated DC Extended Universe film could "absolutely" happen,[176] while Sony Pictures began developing an R-rated adaptation of the character Venom with a smaller budget, inspired by Fox's success with Deadpool and Logan.[177] In June, Kevin Feige said in response to the successes that, though Marvel Studios was not planning any R-rated films for its Marvel Cinematic Universe, "it's not out of the question".[178] After the proposed acquisition of 21st Century Fox by Disney was announced in December 2017, Disney CEO Bob Iger said that the company would be willing to make future R-rated Marvel films like Deadpool, potentially under a "Marvel-R" brand, "as long as we let the audiences know what's coming".[179]

Before Deadpool's release, Fox green-lit a sequel with Reese and Wernick returning to write the screenplay.[180] The involvement of Reynolds and Tim Miller was confirmed at the 2016 CinemaCon in April,[181] but at the end of October, Miller left the film over "mutual creative differences" with Reynolds.[182] The next month, David Leitch signed on to replace Miller for the sequel.[183] Leitch first made a short film, No Good Deed, which was written by Reese and Wernick and played in front of Logan.[184][185]Deadpool 2 was released on May 18, 2018,[186] with Baccarin,[187] T. J. Miller,[188] Uggams,[189] Hildebrand,[190] and Kapičić all returning.[190]Josh Brolin joined them as Cable.[191] The film explores the team X-Force, which includes Deadpool and Cable.[192] In March 2017, Reese said that a future film focused on that group would be separate from Deadpool 3, "so I think we'll be able to take two paths. [X-Force] is where we're launching something bigger, but then [Deadpool 3 is] where we're contracting and staying personal and small."[193] After the acquisition of 21st Century Fox by Disney was announced in December 2017, Bob Iger said that Deadpool would be integrated with the Marvel Cinematic Universe under Disney.[194]

1.
Ryan Reynolds
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Ryan Rodney Reynolds is a Canadian actor. Additionally, he portrayed the Hal Jordan version of the DC Comics superhero Green Lantern in the 2011 film of the same name. Reynolds has also starred in such as National Lampoons Van Wilder, The Amityville Horror, Definitely, Maybe, The Proposal, Buried, The Croods. Ryan Rodney Reynolds was born on October 23,1976 in Vancouver and his father, James Chester Jim Reynolds, was a food wholesaler, and his mother, Tammy, is a retail salesperson. He is of Irish ancestry and was raised as a Roman Catholic, the youngest of four brothers, he graduated from Kitsilano Secondary School in Vancouver in 1994. He attended Kwantlen Polytechnic University, also in Vancouver, until dropping out, Two of his elder brothers work as police officers in British Columbia, one of whom is a Royal Canadian Mounted Police member. Reynolds career began in 1991, when he starred as Billy Simpson in the Canadian-produced teen soap Hillside, in 1996, he co-starred with Melissa Joan Hart in the TV movie Sabrina the Teenage Witch. As an adult, Reynolds starred in the American television series Two Guys, A Girl and a Pizza Place, playing medical student Michael Berg Bergen, in 1993–94 he had a recurring role in The Odyssey as Macro. He also cameoed in Harold & Kumar Go to White Castle as a nurse, appeared in The In-Laws with Michael Douglas and Albert Brooks, as well as in the Canadian production Foolproof. In 2005, he played a waiter named Monty in Waiting. and as music executive Chris Brander in the romantic comedy Just Friends alongside Amy Smart, Reynolds played the protagonist in the 2008 film Definitely, Maybe. He has also appeared in the season finale of the television series Scrubs. In 2007, Reynolds guest-starred as Brendans friend Hams in the episode Douchebag in the City of the TBS sitcom My Boys, in 2009, he portrayed Andrew Paxton, starring opposite Sandra Bullock, in The Proposal, and Mike Connell in Adventureland. Although he has performed primarily in comedies, Reynolds underwent intense training to play an action role as the character of Hannibal King in the 2004 film Blade. Reynolds played George Lutz in the 2005 remake of the 1979 horror film The Amityville Horror, additionally, he played an FBI agent alongside Ray Liotta in the 2006 crime action film Smokin Aces. In 2010, Reynolds starred in the Spanish and American thriller Buried, in June 2010, Reynolds was invited to join the Academy of Motion Picture Arts and Sciences. Reynolds portrayed the Hal Jordan version of superhero Green Lantern in Warner Bros. film Green Lantern, though the film didnt fare well both financially and critically, this role made him one of the few actors to headline in films based on both Marvel and DC characters. In 2011 he co-starred in the comedy, The Change-Up, as well as being the narrator for the documentary film The Whale, in 2012, he portrayed an agent in Safe House, alongside Denzel Washington. He then had starring roles in two Dreamworks Animation feature films, The Croods and Turbo, both released in 2013 and his next role was in portraying Nick Walker in the Universal Pictures film adaptation of Dark Horse Comics R. I. P. D

2.
Deadpool
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Deadpool is a fictional character appearing in American comic books published by Marvel Comics. Created by artist/writer Rob Liefeld and writer Fabian Nicieza, the character first appeared in The New Mutants #98. Initially Deadpool was depicted as a supervillain when he made his first appearance in The New Mutants and later in issues of X-Force, but later evolved into his more recognizable antiheroic persona. Deadpool, whose name is Wade Wilson, is a disfigured and mentally unstable mercenary with the superhuman ability of an accelerated healing factor. The character is known as the Merc with a Mouth because of his nature and tendency to break the fourth wall. The characters popularity has seen him feature in other media. Created by artist/writer Rob Liefeld and writer Fabian Nicieza, Deadpool made his first appearance in the pages of The New Mutants #98 cover dated February 1991. According to Nicieza, Liefeld came up with the visual design and name. Liefeld, a fan of the Teen Titans comics, showed his new character to then-writer Fabian Nicieza, upon seeing the costume and noting his characteristics, Nicieza contacted Liefeld, saying this is Deathstroke from Teen Titans. Nicieza gave Deadpool the real name of Wade Wilson as an inside-joke to being related to Slade Wilson, other inspirations were Spider-Man and Wolverine. Liefeld states, Wolverine and Spider-Man were the two properties I was competing with at all times, I didnt have those, I didnt have access to those. I had to make my own Spider-Man and Wolverine, thats what Cable and Deadpool were meant to be, my own Spider-Man and my own Wolverine. Both Deadpool and Cable were also meant to be tied into Wolverine’s history already from the start, as Liefeld describes, if I could tie anything into Wolverine, I was winning. What Danny DeVitos character was to Arnold Schwarzeneggers character in Twins, in his first appearance, Deadpool is hired by Tolliver to attack Cable and the New Mutants. In 1993, the received his own miniseries, titled The Circle Chase, written by Fabian Nicieza. It was a success and Deadpool starred in a second, self-titled miniseries written in 1994 by Mark Waid, pencilled by Ian Churchill. Waid later commented, Frankly, if Id known Deadpool was such a creep when I agreed to write the mini-series, someone who hasnt paid for their crimes presents a problem for me. In 1997, Deadpool was given his own ongoing title, initially written by Joe Kelly, Deadpool became an action comedy parody of the cosmic drama, antihero-heavy comics of the time

3.
Rob Liefeld
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Robert Rob Liefeld is an American comic book creator. A prominent writer/artist in the 1990s, he has since been called one of the most controversial figures in the comic industry, in the early 1990s, the self-taught artist became prominent due to his work on Marvel Comics The New Mutants and later X-Force. In 1992, he and several other popular Marvel illustrators left the company to found Image Comics, the first book published by Image Comics was Rob Liefelds Youngblood #1. Rob Liefeld was born October 3,1967, the youngest child of a Baptist minister and he and his sister, seven years his senior, grew up in Anaheim, California. Liefelds love of comics began as a child, which led early on to his decision to be a professional artist, Liefeld cites Pérez, along with John Byrne and Frank Miller, as major influences. At the convention, he showed editors his samples and offered a package, editor Dick Giordano, to whom Liefeld showed his samples at the DC booth, requested that Liefeld send him more samples. Though the published story was illustrated by another artist, Liefeld was later given character design work by the publisher. His first published story, however, was the five-issue miniseries Hawk and Dove for DC Comics and that same year, Liefeld drew a Bonus Book insert in Warlord #131, as well as Secret Origins #28. Liefelds layouts for Hawk and Dove #5, which place in a chaos dimension, were oriented sideways so that a reader would have to turn the comic book at a right angle to read them. Because this was done without editorial input, editor Mike Carlin cut and pasted the panels into the proper order, the letters column of Hawk and Dove #5 mentions that Liefeld showed something new to an editor who thought hed seen everything. Liefeld explained this was how the dimension had been portrayed the other time it had been featured in the book. Shortly thereafter, Liefeld began doing work for Marvel Comics as well, in 1989, Liefeld became the penciller for the Marvel series The New Mutants, starting with issue #86. He is generally credited for turning this lowest-selling title of the X-Men franchise into a financial success, with The New Mutants #98, Liefeld assumed full creative control over the series, penciling, inking, and plotting, with Fabian Nicieza writing dialog. The sales numbers were propelled by 1990s direct market sales strategies, Lees X-Men was published with five variant covers, and X-Force relied on multiple variant trading cards polybagged with the comic itself. Liefeld and several other young artists including Jim Lee, Todd McFarlane, Erik Larsen, Whilce Portacio, Jim Valentino. Each co-founder formed his own studio under the Image banner, such as Liefelds Extreme Studios, Liefelds superhero team series Youngblood, which is loosely based on a 1991 Teen Titans series Liefeld had proposed to DC Comics, was the first comic Image published. He appeared on an episode of The Dennis Miller Show to promote the book and his other titles included Bloodstrike #1, which was released in April 1993. In an interview in Hero Illustrated #4, Liefeld conceded disappointment with the first four issues of Youngblood, in 1996, Liefelds and Lees studios signed with Marvel to re-envision several of the companys core series, an event called Heroes Reborn

4.
20th Century Fox
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Twentieth Century Fox Film Corporation is an American film studio currently owned by 21st Century Fox. It is one of the Big Six major American film studios and is located in the Century City area of Los Angeles, the studio was formerly owned by News Corporation. 20th Century Fox is a member of the Motion Picture Association of America, in 2015, 20th Century Fox celebrated its 80th anniversary as a studio. Spyros Skouras, then manager of the Fox West Coast Theaters, the studios biggest star, Will Rogers, died in a plane crash weeks after the merger. Its leading female star, Janet Gaynor, was fading in popularity and promising leading men James Dunn, at first, it was expected that the new company was originally to be called Fox-20th Century, even though 20th Century was the senior partner in the merger. However, 20th Century brought more to the bargaining table besides Schenck and Zanuck, the new company, 20th Century-Fox Film Corporation, began trading on May 31,1935, the hyphen was dropped in 1985. Schenck became Chairman and Chief Executive Officer, while Kent remained as President, Zanuck became Vice President in Charge of Production, replacing Foxs longtime production chief Winfield Sheehan. The company established a training school. The contracts included an option for renewal for as long as seven years. For many years, 20th Century Fox claimed to have founded in 1915. For instance, it marked 1945 as its 30th anniversary, however, in recent years it has claimed the 1935 merger as its founding, even though most film historians agree it was founded in 1915. The companys films retained the 20th Century Pictures searchlight logo on their credits as well as its opening fanfare. Also on the Fox payroll he found two players who he built up into the studios leading assets, Alice Faye and seven-year-old Shirley Temple, favoring popular biographies and musicals, Zanuck built Fox back to profitability. Thanks to record attendance during World War II, Fox overtook RKO, while Zanuck went off for eighteen months war service, junior partner William Goetz kept profits high by going for light entertainment. The studios—indeed the industrys—biggest star was creamy blonde Betty Grable, in 1942, Spyros Skouras succeeded Kent as president of the studio. Together with Zanuck, who returned in 1943, they intended to make Foxs output more serious-minded. During the next few years, with pictures like The Razors Edge, Wilson, Gentlemans Agreement, The Snake Pit, Boomerang, and Pinky, Zanuck established a reputation for provocative, adult films. Fox also specialized in adaptations of best-selling books such as Ben Ames Williams Leave Her to Heaven, starring Gene Tierney and they also made the 1958 film version of South Pacific

5.
Grand Rex
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The Grand Rex is a cinema in Paris. It is noted for its sumptuous decoration and its main auditorium. An atmospheric theatre in American parlance, the Grand Rexs main auditorium features a starred ceiling, the theatres 2800 places are the most of any in Europe, and its 300m2 screen is the largest in Paris. The cinemas external facade, out of proportion to neighboring buildings, features large neon signs, the cinema is considered to be a landmark of art deco architecture. A French government decree on 5 October 1981 listed the Cinéma Rex, its decor, roofs. The Rex, as it was known, was built for Jacques Haïk. Haïk aimed to create the most beautiful theatre in Paris. The design was by Auguste Bluysen, a French architect, with input by John Eberson, construction began in 1931, and the cinema opened its doors the following year on the evening of 8 December. During the Occupation, the Rex was requisitioned and became the Soldatenkino, in the 1950s, one of the first escalators in France was installed and inaugurated by Gary Cooper. Between 1974 and 1990, seven further screens were added in the basement, since the 1950s, the Grand Rex has specialised in major Hollywood and particularly Disney productions. Unlike most Parisian movie theatres, the Grand Rex shows most films in their French-dubbed versions, the cinema is host to the Jules Verne Adventure Film Festival each April, a six-day event that attracts more than 48,000 attendees. A December highlight is the Féerie des eaux, an event featuring 1200 on-stage jets of water

6.
Superhero film
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Most superhero movies are based on superhero comics. Almost immediately after superheroes rose to prominence in comic books, they were adapted into Saturday film serials aimed at children, serials such as Adventures of Captain Marvel, Batman, The Phantom, Captain America, and Superman followed. Another early superhero film was Ōgon Bat, a Japanese film starring Sonny Chiba based on the 1930 Kamishibai superhero Ōgon Bat, other successful entries emerged throughout the 1980s, from Richard Lesters Superman II and Paul Verhoevens Robocop to Tim Burtons Batman. Marvel Comics Captain America did not have a release and Roger Cormans The Fantastic Four was released neither theatrically nor on home video. Alex Proyas The Crow became the first independent comics superhero film that established a franchise, the success of The Crow catalyzed the release of a film version of Spawn, Image Comics leading character. The success of the darker Image Comics characters shifted the direction of comic book movies, Marvel soon released their films to become franchises, Men in Black and Blade. After Marvel bought Malibu Comics, Marvel and Columbia Pictures released the Men in Black film, the film became the first Marvel property to win an Oscar and the then highest-grossing comic book adaptation until the release of Sam Raimi’s Spider-Man in 2002. Blade was also a mix of a traditional action film as well as darker superhero film with the title character having superpowers as well as carrying an arsenal of weaponry. The success of Blade began Marvels film success, and set the stage for further comic film adaptations. The success of the X-Men TV series had made 20th Century Fox license the rights in 1994. After the success of Men in Black in 1997, Columbia Pictures licensed the rights of Spider-Man in 1999. 20th Century Foxs X-Men became a franchise by its surprise hit. Later, one of the largest blockbusters of all time was released with Sam Raimis Spider-Man. One, Krrish 3, several non-action film oriented superhero films were released in the 2000s with varying ranges of success. Brad Birds The Incredibles for Pixar was a critically acclaimed digitally-animated family oriented superhero film, other hybrids include Sky High and Zoom which were fusions of the superhero and family film genres, My Super Ex-Girlfriend a combination of superhero film and a romantic comedy. Some series from the current and previous decades were also re-released, such as Superman II, bryan Singers Superman Returns is unique due to the fact that it is a sequel to the first two Superman films, yet also a reboot to the third and fourth films. The 2010s has generally continued the success of superhero films seen in the previous decade. In 2010, Matthew Vaughns adaption of Kick-Ass was released, followed by Iron Man 2 a month later,2011 releases included The Green Hornet, Green Lantern, and X-Men, First Class. Following references to the Avengers Initiative in the Iron Man films and The Incredible Hulk, Marvel released Thor on May 6,2011, followed by Captain America, the Avengers broke the box office record as the highest-grossing superhero film of all time

7.
Marvel Comics
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Marvel Comics is the common name and primary imprint of Marvel Worldwide Inc. formerly Marvel Publishing, Inc. and Marvel Comics Group, an American publisher of comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwides parent company, Marvel started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvels modern incarnation dates from 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. Most of Marvels fictional characters operate in a reality known as the Marvel Universe. Martin Goodman founded the later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. The issue was a success, with it and a second printing the following month selling, combined. While its contents came from an outside packager, Funnies, Inc, Timely had its own staff in place by the following year. It, too, proved a hit, with sales of one million. Goodman formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941, Goodman hired his wifes cousin, Stanley Lieber, as a general office assistant in 1939. Lee wrote extensively for Timely, contributing to a number of different titles, Goodmans business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55. As well, some covers, such as All Surprise Comics #12, were labeled A Marvel Magazine many years before Goodman would formally adopt the name in 1961. The post-war American comic market saw superheroes falling out of fashion and this globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications. Atlas also published a plethora of childrens and teen humor titles, including Dan DeCarlos Homer the Happy Ghost, Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch, the Sub-Mariner, and Captain America. Atlas did not achieve any hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply. During this time, the Comic Code Authority made its debut in September 1954, Wertham published the book Seduction of the Innocent in order to force people to see that comics were impacting American youth. He believed violent comics were causing children to be reckless and were turning them into delinquents, in September 1954, comic book publishers got together to set up their own self-censorship organization—the Comics Magazine Association of America—in order to appease audiences

8.
X-Men Origins: Wolverine
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X-Men Origins, Wolverine is a 2009 American superhero film based on the Marvel Comics fictional character Wolverine, distributed by 20th Century Fox. It is the installment and the first spinoff of the standalone Wolverine trilogy from the X-Men film series. The film was directed by Gavin Hood, written by David Benioff and Skip Woods and it co-stars Liev Schreiber, Danny Huston, Dominic Monaghan and Ryan Reynolds. The film is a prequel/spin-off focusing on the violent past of the mutant Wolverine, the film was mostly shot in Australia and New Zealand, with Canada also serving as a location. Filming took place from January to May 2008, a second Wolverine film titled The Wolverine was released in 2013 to positive reviews and much greater success. In 1845, James Howlett, a boy living in Canada, the trauma activates the boys mutation, bone claws protrude from his knuckles, and he impales Thomas, who reveals that he is Jamess real father before dying. James flees along with Thomass other son Victor Creed, who is thus Jamess half-brother and has a healing factor mutation like James and they spend the next century as soldiers, fighting in the American Civil War, both World Wars, and the Vietnam War. In Vietnam, the increasingly violent Victor attempts to rape a Vietnamese woman, James happens upon the fight and defends Victor, resulting in the pair being sentenced to execution by firing squad, which they survive due to their mutant healing abilities. Major William Stryker approaches them in custody and offers them membership in Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes. They join the team for a few years, with James now using the alias Logan, but Victor, six years later, Logan is working as a lumberjack in Canada, where he lives with his girlfriend Kayla Silverfox. Stryker and Zero approach Logan at work, Stryker reports that Wade and Bradley have been killed, and he thinks someone is targeting the teams members. Logan refuses to rejoin Stryker, but after finding Kaylas bloodied body in the woods and he finds him at a local bar, but Logan loses the subsequent fight. Afterward, Stryker explains that Victor has gone rogue, and offers Logan a way to become strong enough to get his revenge, Logan undergoes a painful operation to reinforce his skeleton with adamantium, a virtually indestructible metal. Zero kills them the morning and tries to kill Logan. Logan locates John and Fred at a boxing club, Fred explains that Victor is still working for Stryker, hunting down mutants for Stryker to experiment on at his new laboratory, located at a place called The Island. Fred mentions Remy Gambit LeBeau, the one who escaped from the island. John and Logan find LeBeau in New Orleans, then both fight Victor, who kills John and extracts his DNA, agreeing to help release mutants that Stryker has captured, Gambit takes Logan to Strykers facility on Three Mile Island. Logan learns that Kayla is alive, having been coerced by Stryker into surveilling him in exchange for her sisters safety

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Fourth wall
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The fourth wall is a performance convention in which an invisible, imagined wall separates actors from the audience. While the audience can see through this wall, the convention assumes, the metaphor suggests a relationship to the mise-en-scène behind a proscenium arch. When a scene is set indoors and three of the walls of its room are presented onstage, in what is known as a box set, the fourth wall, though, is a convention of acting, rather than of set design. Breaking the fourth wall is any instance in which this performance convention and this can be done through either directly referencing the audience or the work they are in, or referencing their fictionality. The temporary suspension of the convention in this way draws attention to its use in the rest of the performance and this act of drawing attention to a plays performance conventions is metatheatrical. The phrase breaking the wall is used to describe such effects in those media. Breaking the fourth wall is also possible in other media, such as video games, the concept is usually attributed to the philosopher, critic and dramatist Denis Diderot. The term itself was used by Molière, one play that uses the fourth wall extensively for comedic effect is The Complete Works of William Shakespeare. Critic Vincent Canby described it in 1987 as that invisible scrim that forever separates the audience from the stage, oliver Hardy was probably the first to break the fourth wall, in his movies with Stan Laurel, by staring at the camera to seek comprehension from the viewers. Groucho Marx spoke directly to the audience in Animal Crackers,1930, woody Allen broke the fourth wall several times in his movie Annie Hall, as he explained, because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them, the John Hughes movie Ferris Buellers Day Off is another well-known fourth-wall-breaking movie. Bueller, played by Matthew Broderick, often turns to the camera, in the Mel Brooks film Blazing Saddles, the characters literally break the fourth wall. Breaking the fourth wall is an part of the ending of Alejandro Jodorowskys 1973 film The Holy Mountain. More recent examples include the 2016 film Deadpool, in which it is used as a device between the main character and the audience. On television, breaking the wall is rare, though it has been done throughout the history of the medium. George Burns did it numerous times on The George Burns and Gracie Allen Show he starred in with his real-life wife Gracie Allen from 1950 to 1958. Its Garry Shandlings Show and Mrs. Browns Boys both have their title character walking between sets mid-scene, and the latter occasionally shows characters retaking fluffed lines. Another television character who breaks the fourth wall is Francis Urquhart in the British TV drama series House of Cards, To Play the King

10.
Vancouver
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Vancouver is a coastal seaport city in Canada, located in the Lower Mainland region of British Columbia. As the most populous city in the province, the 2016 census recorded 631,486 people in the city, the Greater Vancouver area had a population of 2,463,431 in 2016, making it the third largest metropolitan area in Canada. Vancouver has the highest population density in Canada with over 5,400 people per square kilometre. With over 250,000 residents, Vancouver municipality is the fourth most densely populated city in North America behind New York City, San Francisco, and Mexico City according to the 2011 census. In that census, Vancouver was one of the most ethnically and linguistically diverse cities in Canada, Vancouver is classed as a Beta global city. In 2014, following thirty years in California, the annual TED conference made Vancouver its indefinite home, several matches of the 2015 FIFA Womens World Cup were played in Vancouver, including the final at BC Place Stadium. From that first enterprise, other stores and some hotels quickly appeared along the waterfront to the west, Gastown became formally laid out as a registered townsite dubbed Granville, B. I. As of 2014, Port Metro Vancouver is the third largest port by tonnage in the Americas, 27th in the world, the busiest and largest in Canada, and the most diversified port in North America. While forestry remains its largest industry, Vancouver is well known as an urban centre surrounded by nature, archaeological records indicate the presence of Aboriginal people in the Vancouver area from 8,000 to 10,000 years ago. The city is located in the territories of the Squamish, Musqueam. They had villages in various parts of present-day Vancouver, such as Stanley Park, False Creek, Kitsilano, Point Grey, the city takes its name from George Vancouver, who explored the inner harbour of Burrard Inlet in 1792 and gave various places British names. The explorer and North West Company trader Simon Fraser and his became the first known Europeans to set foot on the site of the present-day city. In 1808, they travelled from the east down the Fraser River, perhaps as far as Point Grey. The Fraser Gold Rush of 1858 brought over 25,000 men, mainly from California, to nearby New Westminster on the Fraser River, on their way to the Fraser Canyon, a sawmill established at Moodyville in 1863, began the citys long relationship with logging. It was quickly followed by mills owned by Captain Edward Stamp on the shore of the inlet. This mill, known as the Hastings Mill, became the nucleus around which Vancouver formed, the mills central role in the city waned after the arrival of the Canadian Pacific Railway in the 1880s. It nevertheless remained important to the economy until it closed in the 1920s. The settlement which came to be called Gastown grew up quickly around the original makeshift tavern established by Gassy Jack Deighton in 1867 on the edge of the Hastings Mill property

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Computer-generated imagery
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The term CGI animation refers to dynamic CGI rendered as a movie. The term virtual world refers to agent-based, interactive environments, Computer graphics software is used to make computer-generated imagery for films, etc. Availability of CGI software and increased computer speeds have allowed artists and small companies to produce professional-grade films, games. This has brought about an Internet subculture with its own set of global celebrities, clichés, the evolution of CGI led to the emergence of virtual cinematography in the 1990s where runs of the simulated camera are not constrained by the laws of physics. Not only do animated images form part of computer-generated imagery, natural looking landscapes are generated via computer algorithms. A simple way to generate fractal surfaces is to use an extension of the triangular mesh method, relying on the construction of special case of a de Rham curve. The creation of a Brownian surface may be achieved not only by adding noise as new nodes are created, thus a topographical map with varying levels of height can be created using relatively straightforward fractal algorithms. Some typical, easy-to-program fractals used in CGI are the plasma fractal, modern architects use services from computer graphic firms to create 3-dimensional models for both customers and builders. These computer generated models can be accurate than traditional drawings. Architectural animation can also be used to see the relationship a building will have in relation to the environment. The rendering of architectural spaces without the use of paper and pencil tools is now an accepted practice with a number of computer-assisted architectural design systems. Architectural modeling tools allow an architect to visualize a space and perform walk-throughs in an interactive manner, Architectural modeling tools have now become increasingly internet-based. However, the quality of internet-based systems still lags behind those of sophisticated in-house modeling systems, in some applications, computer-generated images are used to reverse engineer historical buildings. Computer generated models used in animation are not always anatomically correct. However, organizations such as the Scientific Computing and Imaging Institute have developed anatomically correct computer-based models, Computer generated anatomical models can be used both for instructional and operational purposes. To date, a body of artist produced medical images continue to be used by medical students, such as images by Frank H. Netter. However, a number of anatomical models are becoming available. A single patient X-ray is not a computer generated image, even if digitized, however, in applications which involve CT scans a three-dimensional model is automatically produced from a large number of single slice x-rays, producing computer generated image

12.
Colossus (comics)
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Colossus is a fictional superhero appearing in American comic books published by Marvel Comics. Created by writer Len Wein and illustrator Dave Cockrum, he first appeared in Giant-Size X-Men #1, a Russian mutant, he is a member of the X-Men. Able to transform himself into form, he is by far the most physically strong of the team. Even when his powers are not engaged, he is still an imposing figure of 6 ft 7 in. He is portrayed as quiet, honest and virtuous and he has had a fairly consistent presence in X-Men-related comic books since his debut. A talented artist, he reluctantly agrees to use his powers in combat, feeling it is his responsibility to use his abilities for the betterment of human-. Actor Daniel Cudmore portrayed Colossus in X2, X-Men, The Last Stand, and X-Men, Days of Future Past, wizard ranked Colossus at 184 on the Top 200 Comic Book Characters of All Time. In 2006, IGN placed Colossus in the 10th spot of their list of The Top 25 X-Men, in 2013, ComicsAlliance ranked Colossus as #22 on their list of the 50 Sexiest Male Characters in Comics. Editor Roy Thomas, in charge of reviving the X-Men for Giant-Size X-Men #1, told the team to go home. Dave Cockrum recalled, I just went home and Colossus was one of the first ones that came to mind and we needed a strong guy for the team, so I drew up a strong guy. The characters armor just kind of fell into place and he was accepted pretty much as-is, except that I had given him bare legs because it seemed only logical that if were going to show him armored up, the legs should be bare like the arms. But Len Wein didnt like male characters with bare legs, so we decided that his costume would be blue when he wasnt armored up, and that wed see his legs when he was armored up, due to the unstable molecules of his costume. A mainstay of the X-Men comic book series until the 1990s, while a member of the team, he had his own self-titled one-shot that depicted him and his teammate Meggan battling Arcade at his new Murderworld facility. After returning to the X-Men alongside Excalibur teammates Shadowcat and Nightcrawler and he was later resurrected and was a regular in the third series of Astonishing X-Men written by Joss Whedon. He is the feature of a series, Colossus, Bloodlines. Colossus has since returned as a regular in the X-Men series, appearing in titles such as X-Men, Manifest Destiny, X-Men, Secret Invasion, X-Men. Colossus appears in Cable and X-Force, a new series by writer Dennis Hopeless and he appears in Extraordinary X-Men, written by Jeff Lemire and drawn by Humberto Ramos. He is part of a team which is led by Storm, and includes his sister Magik, Iceman, a version of Jean Grey, Nightcrawler, a re-purposed Sentinel named Cerebra

The Proscenium arch of the theatre in the Auditorium Building, Chicago. It is the frame decorated with square tiles that forms the vertical rectangle separating the stage (mostly behind the lowered curtain) from the auditorium (the area with seats).